Forward Preface Acknowledgements INTRODUCTION CONTEXTS 1-1 An Unlikely Hero is Born 1-2 Mario Grows Up 1-3 Kondo’s Compositional Philosophy 1-4 Kondo’s Instruments MUSIC 2-1 Overworlds and Underworlds 2-2 The “Underwater” Waltz 2-3 Bowser’s “Castle” Theme & Other Endings 2-4 Sound Effects CONCLUSION Bibliography Index
Explores how Koji Kondo’s Super Mario Bros. (1985) score redefined video game music.
Andrew Schartmann holds degrees in music from McGill and Yale University. He is the author of Maestro Mario and the assistant editor of DSCH Journal.
Schartmann is convincing on Kondo's genius ... It's hard not to
appreciate his high aim. If anyone still doubts a video game can be
art, perhaps their definition of art is at fault.
*The Wire*
The most compelling aspects of Schartmann’s book involve the
widening circumference of Kondo’s imagination, the possibilities he
saw in this new world of electronic composition. The move to home
consoles had freed video gaming from the initial, “hailing”
approach to sound…It’s Schartmann’s sense of conviction, the
hyperbole that occasionally frames his dive into composition and
structure, that gives the book its charm.
*The New Yorker*
Koji Kondo’s Super Mario Bros. Soundtrack gave me a greater
appreciation of something that appears to be so simple on the
surface.
*Pure Geekery*
Koji Kondo's Super Mario Bros. Soundtrack comes in at 120 pages,
not counting the notes and preface, which appears well on par with
other books in the 33 1/3 series. It's a book that takes itself
seriously, as it should, and soundly proves the case that video
game composition is worthy of discussion among keepers of music as
a craft. If you have an appreciation for game music, this is worth
buying. Even if you don't get a few parts, they're only likely to
make you admire the work and design that go into composing all the
more.
*NintendoLife*
Andrew Schartmann does both the spirit of the series and video game
history proud with his investigation into the iconic music from
Koji Kondo. Matching a fanboy’s sensibilities with serious
scholarship, Schartmann provides the reader with an engaging
discussion of Kondo’s themes and ideas, both in terms of stylistic
flair and compositional acumen … Of equal importance are his
excellent research skills, as he collects worthwhile source
material and pairs them [with] compelling quotes from Kondo and
other luminaries at Nintendo to make his case for this soundtrack’s
inclusion in the 33-1/3 series. The result is a superb blend of
professional musicology and video game nerdery.
*Dryvetyme.tumblr.com*
Andrew Schartmann’s extensive, thoughtful treatise on Japanese
composer Koji Kondo and his work on the soundtrack to the original
Super Mario Bros game is probably the most unusual entry in the 33
1/3 music chapbook series … As Schartmann demonstrates, Kondo’s
work on this seminal game – and the legacy of industry influence
that followed – is much more than the primitive bleeps and bloops
we all remember …
*Critics at Large*
There’s something ballsy about including a videogame soundtrack in
the 33 1/3 series since it’s not a traditional album per se, though
Andrew Schartmann makes a compelling case for Koji Kondo’s score
for Super Mario Bros.
*Ruby Hornet*
Excerpted
*VICE*
Featured in "The Genius of the Super Mario Bros. 'Game Over'
Theme"
*Slate*
Schartmann argues Super Mario Bros. composer Kondo transcended the
medium of composition to break free from its restrictions, creating
something new to be examined and improved upon … Super Mario Bros.
has an enduring sonic legacy. Music is, after all, one of the great
social connectors, and the infectiousness of Super Mario Bros.’
iconic main theme is ignorant of geography’s constraints.
*The Globe and Mail*
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